Critics From The United States

"Yes, sex may be at least in part inflected by politics, our fantasies may be at least in part a compendium of cultural myths, but the ways in which sex and fantasy ripen within the individual seem to me to vary so greatly that summaries become useless, even dangerous.But if I were to venture my own generalizations, I would say that with the collapse of other social values (those of religion, patriotism, the family and so on), sex has been forced to take up the slack, to become our sole mode of transcendence and our only touchstone of authenticity. The cry for scorching, multiple orgasms, the drive toward impeccable and virtuoso performance, the belief that only in complete sexual compatibility lies true intimacy, the insistence that sex is the only mode for experiencing thrills, for achieving love, for assessing and demonstrating personal worth — all these projects are absurd."

"Sometimes I look at the battered exteriors of apartment buildings in New York and think how these sorry shells have housed such a long procession of styles. The money! The effort! One tenant mirrors everything, the next panels the walls, the third lines them with mylar, the fourth turns to toile de Jouy, the fifth to pegboard or handblocked rice paper. The expensive if often shoddy interiors installed only to be dismantled, the exterior left untouched as it turns yet another shade sootier — this transience seems a fitting emblem for the way we stay up-to-date without ever changing."

"Being up on something is a way of dismissing it. To espouse any point of view is a danger — it might leave us stuck with last year's cause. Prized for their novelty alone, ideas, gimmicks, trends become equivalent, interchangeable."

"In return for the costliness and inconvenience, the squalor and discomfort of our lives, we get to participate in whatever is the latest. We are never left out of anything: we know what's happening, especially since so many of us practice what Paul Valéry called the "delirious professions." As Valéry wrote, "This is the name I give to all those trades whose main tool is one's opinion of oneself, and whose raw material is the opinion others have of you." Although Valéry was writing eighty years ago of Paris, he anticipated the excruciating position of those gay (and straight) New York "creative people" who must be perpetually original in a "population of uniques." The cruel contradiction of such a position is that the creative "live for nothing but to have, and make durable, the illusion of being the only one — for superiority is only a solitude situated at the present limits of a species." The exigencies of the drive to originality can, as Valéry understood, promote a deep uncertainty about one's personal value. If one is a product, is it new enough? Perfect? One of a kind?"

"He and Marilyn were lovers, but this was never said in so many words. Explicitness about one’s romantic arrangements had apparently been deemed gauche. In my middle-class teen-age world, the whole apparatus of going steady, exchanging ID bracelets, smooching at dances, fighting, breaking up, submitting to the arbitration of friends — that was the point, the public drama."

"He's scattered, his sentences trail off, he sighs frequently, as though he's so intelligent he's always frustrated by the formulaic nature of speech (each sentence a ride you can't get off once the attendant buckles you into the car)."

"I am, I must confess, suspicious of those who denounce others for having "too much" sex. At what point does a "healthy" amount become "too much"? There are, of course, those who suffer because their desire for sex has become compulsive; in their cases the drive (loneliness, guilt) is at fault, not the activity as such."

"I got a lot of encouragement there from John Barth...and Edmund White, whom I adored—a man of tender intelligence, and a daring writer."

"Perhaps we'd understood each other too well to be attracted to one another. There were no occlusions in communication, those breaks in understanding that awaken desire."

"It seemed strange to me that someone who painted big, scary abstractions should have been so commonsensical in her literary tastes, though later I would discover that twelve-tone composers read Keats just as experimental poets listened to Glenn Miller — few people are avant-garde outside their own domain.I suppose that as Midwesterners, the children of chemical engineers and homemakers, we experienced the arts as so foreign, even so preposterously unreasonable, that once we’d decided to embrace them we did so with lots of conviction and little discrimination. Surely it was no accident that T.S. Eliot and Ezra Pound, the two great poetic synthesists of our day, the very men who had ransacked all of world culture and could refer in the same poem to the Buddha and to Sophocles or to Confucius and to Jefferson — it was no accident that they were both from the heartland. Public-library intellectuals, magpies of knowledge, like most autodidacts we were incapable of evaluating our sources. As a teen-ager, I tried to write verse like Milton’s; later, I wanted to write novels like Nabokov’s. In a novel I wrote in college, I imitated Evelyn Waugh. If someone had said to me, "But do you, the graceless son of a Cincinnati broker of chemical equipment, do you seriously imagine that you can just write a Renaissance Christian epic or something in the style of a Cambridge-educated Russian aristocrat or of the spokesman of the Bright Young Things of London circa 1925?" — if someone had spoken like this to me, I wouldn’t even have understood his point."

"Biography can be the most middle-class of all forms, the judgment of little people avenging themselves on the great. One English critic took me to task for not saying that Genet was "afraid of intimacy" all his life because he'd been abandoned by his mother at the age of seven months. All the evidence needed to make such an interpretation is in my book, but I don't myself draw the vulgar conclusion. Since most literary biographies ignore the work except for potted plot summaries, they strip the biographee of everything redeeming and leave his or her subject to this spiteful revenge, this half-baked Freudian-Christian-bourgeois moralizing."

"I still feel that sincerity and realism are avant-garde, or can be, just as I did when I started out."

"For gay men this force of history has been made to come clean; it’s been stripped of its natural look. The very rapidity of change has laid bare the clanking machinery of history. To have been oppressed in the 1950s, freed in the 1960s, exalted in the 1970s and wiped out in the 1980s is a quick itinerary for a whole culture to follow. For we are witnessing not just the death of individuals but a menace to an entire culture. All the more reason to bear witness to the cultural moment."

"There is an enormous pressure placed on gay novelists because they are the only spokespeople. The novelist's first obligation is to be true to his own vision, not to be some sort of common denominator or public relations man to all gay people."

"I appreciated the sense of drama he wanted to inject into my existence and I was flattered that he thought I, or at least some essential if somewhat abstract principle within me, was worth saving.I also felt surging within me a fierce need to be independent. Of course I responded to the appeal of divine hydraulics, this system of souls damned or crowned or destroyed or held in suspense, these pulleys and platforms sinking and lifting on the great stage, and I recognized that my view of things seemed by contrast impoverished, lacking in degree and incident. But the charming intricacy of a myth is not sufficient to compel belief. I found no good reason to assume that the ultimate nature of reality happened to resemble the backstage of an opera house."

"How thrilling to discover one had depths, how consoling to find them less polluted than the shallows, how encouraging to identify the enemy not as a fissure in the will but as a dead fetus in the specimen jar of the unconscious. My attention was being paternally led away from the excruciating present to the happy, healthy future that would be enabled by an analysis of the sick past, as though the priest had nothing to do but study old books and make bright forecasts, the present not worthy of notice."

"Recognizing that the world is governed by a minority, the sexually active, and that they hold sway of a huge majority of the nonsexual, those people too young or too old or too poor or too homely or sick or crazy or powerless to be able to afford sexual partners (or the luxury of systematic, sustained and shared introspection, so sexual in its own way). All advertisements and films and songs are addressed to sexuals, to their rash whims and finicky tastes."

"Imprisoned under all our layers of long underwear, thick socks, shirts, vests, jackets, coats and hoods were these tropical bodies; the steam and hot water brought color back into the pallor, found the nacreous hollow in a hip, detected the subtly raised triceps, rinsed a sharp clavicle in a softening flood, swirled dull brown hair into a smooth black cap and pulled evening gloves of light over raw hands and skinny, blue-veined forearms.Just as each shell held to the ears roars with a different ocean timbre, each of these bodies spoke to me with a different music, though all sounded to me unlike my own and only with the greatest effort could I remember I was longing after my own sex. Indeed, each of these beings seemed to possess his very own sex."

"The school was nothing but reminiscence — of an Italian hill town, a French abbey, an English academy, the different sources improbably but convincingly melded into a fantasy about the classic sites of Europe as imagined by exiles from cold peripheral lands, nostalgia about somebody else's past."

"Tommy started to play the guitar and sing. He and I had trekked more than once downtown to the Folk Center to hear a barefoot hillbilly woman in a long, faded skirt intone Elizabethan songs and pluck at a dulcimer or to listen, frightened and transported, to a big black Lesbian with a crew cut moan her way through the blues. The People — those brawny, smiling farmers, those plump, wholesome teens bursting out of bib overalls, those toothless ex-cons, those white-eyed dust bowel victims — the People, half-glimpsed in old photos, films and WPA murals, were about to reemerge, we trusted, into history and our lives."

"Perhaps I became so vague, so exhilarated with vagueness, precisely in order to forestall a recognition of the final term of the syllogism that begins: If one man loves another he is a homosexual; I love a man..."

"The notion that I might have been able to court friends, win attention, conjure it, would have spoiled it for me. Unbidden love was what I wanted."

"In our imaginations the adults of our childhood remain extreme, essential — we might say radical since they are the roots that fed luxuriant later systems. Those first bohemians, for instance, stay operatic in memory even though were we to meet them today — well, what would we think, we who've elaborated our eccentricities with a patience, a professionalism they never knew?"

"We lived one year in a suburb so new it was still being built in fields of red clay: a neat grid of streets named after songbirds was being dropped like a lattice of dough over a pie. Up and down Robin and Tanager and Bluebird I raced my bike; in a storm I pedaled so fast I hoped to catch up with the wind-driven rain. As I sped into the riddling wet warmth I shook my right hand according to a magical formula of my own. The universe, signaled by its master, groaned, revolved, released a flash of lightning. At last the imagination, like a mold on an orange, was covering the globe of my mind."

"Characters — conventional women with minor eccentricities — flourished in our world, as Mrs. Cork had no doubt observed. But she'd failed to notice that the characters were all old, rich and pedigreed. Newcomers, especially those of moderate means, were expected to form an attractive but featureless chorus behind our few madcap divas."

"All his leisure clothes were absurd — jokes, really — as though leisure itself had to be ridiculed."

"Do we regard language as more public, more ceremonial, than thought? Just as family men condemn the profanity on the stage that they use constantly in conversation, in the same way we may look to written language as an idealization rather than a reflection of ourselves."

"Boys and Men do experience sexual abuse at the hands of men. The honmophobes distorting concentration on this fact, which cannot and must not be denied, neatly eliminates from view the primary victim of male sexual abuse: women and girls. This is congruent with the fact that crimes against females are ultimately viewed as expressions of male normalcy, while crimes against men and boys are viewed as perversions of that same normalcy. Society's general willingness to do anything necessary to protect boys and men from male sexual aggression is testimony to the value of a male life. Society's general refusal to do anything meaningful to protect women and girls from male sexual aggression is testimony to the worthlessness of a female life. A male life must be protected for its own sake. A female life warrants protection only when the female belongs to a male, as wife, daughter, mistress, whore; it is the owner who has a right to have his rights over his females protected from other men. A female's bodily integrity or well-being is not protected because of the value of the woman as a human being in her own right."

"Men renounce whatever they have in common with women so as to experience no commonality with women; and whatis left according to men, is one piece of flesh a few inches long, the penis."

"Men are rewarded for learning the practice of violence in virtually any sphere of activity by money, admiration, recognition, respect, and the genuflection of others honoring their sacred and proven masculinity."

"Men are distinguished from women by their commitment to do violence rather than to be victimized by it. Men are regarded for leaning the practice of violence in virtually any sphere of activity by money, admiration, recognition, respect, and the genuflection of others honoring their sacred and proven masculinity. In male culture, police are heroic and so are outlaws; males who enforce standards are heroic and so are those who violate them. The conflict between these groups embody the male commitment to violence: conflict is action; action is masculine."

"Wife beating and marital rape , pervasive here as elsewhere, are predicated on the conviction that a man's ownership of his wife licenses whatever he wishes to do to her: her boy belongs to him to use for his own sexual release, to beat, to impregnate. The male power of owning by virtue of its historical centrality, is barely constrained b the modest legal restrictions put on it."

"Money speaks, but it speaks in a male voice. In the hands of women, money stays literal; count it out it buys what it is worth or less. In the hands of men, money buys women, sex, status, dignity, esteem, recognition, loyalty, all manner of possibility."

"Male supremacy is fused into language, so that every sentence as language, is permeated by the linguistic and perceptual values developed expressly to subordinate women. Men have defined the parameters of every subject."

"[I]n the male sexual lexicon, which is the vocabulary of power, erotica is simply high-class pornography: better produced, better conceived, better executed, better packaged, designed for a better class of consumer. As with the call girl and the streetwalker, one is turned out better but both are produced by the same system of sexual values and both perform the same sexual service."

"...pornography is the orchestrated destruction of women's bodies and souls; rape, battery, incest, and prostitution animate it; dehumanization and sadism characterize it; it is war on women, serial assaults on dignity, identity, and human worth; it is tyranny. Each woman who has survived knows from the experience of her own life that pornography is captivity–the woman trapped in the picture used on the woman trapped wherever he's got her."

"Pornography incarnates male supremacy. It is the DNA of male dominance. Every rule of sexual abuse, every nuance of sexual sadism, every highway and byway of sexual exploitation, is encoded in it."

"Pornography is the essential sexuality of male power: of hate, of ownership, of hierarchy; of sadism, of dominance."

"Men characterize pornography as something mental because their minds, their thoughts, their dreams, their fantasies, are more real to them than women's bodies or lives; in fact, men have used their social power to characterize a $10-billion-a-year trade in women as fantasy."

"(Dworkin's statements quoted:) Her own experiences—as a rape victim, a prostitute and a battered wife—only added to the trenchancy of her views, but she reacted with fury to suggestions that such traumas had made it difficult for her to be objective. "I've never heard Solzhenitsyn asked if he can be objective about the gulag," she snarled. "As if not paying attention to rape and wife battery were some kind of objectivity.""

"I know a hell of a lot about intercourse. I wish I knew less."

"I have spent 20 years writing these books. Had I wanted to say men are beasts and scream, that takes 30 seconds."

"Rape is a question of access. Men will rape woman to whom they have access. The stranger in rape is used in a very important political way especially in organizing woman on the right: the stranger is used as a scapegoat. In the United States the stranger is black and he is a rapist. In Nazi Germany the stranger was a Jew and he was a rapist.This use of rape associated with a stranger is a basic component of racism. Women's fears of rape are legitimate. Those fears are manipulated to serve the ends of racism. We now see the same scapegoat strategy being used against homosexual men, who are accused of child molestation when most child molestation is of little girls. It is not that homosexual men do not rape. They do. So do black men and Jewish men. Men in all classes and of all races and ethnicities rape, which is not to say that all men rape. It is to say that all men benefit from rape, because all men benefit from the fact that women are not free in this society; that women cower; that women are afraid; that women cannot assert the rights that we have, limited as those rights are, because of the ubiquitous presence of rape."

"The pornographers actually use our bodies as their language. We are their speech. . . . Protecting what they 'say' means protecting what they do to us, how they do it. It means protecting their sadism on our bodies, because that is how they write: not like a writer at all; like a torturer."

"Pornography is used in rape—to plan it, to execute it, to choreograph it, to engender the excitement to commit the act."

"is often a hostile act, often an exercise of power over somebody else."

"[Interviewer:] What would you say is the most overrated virtue? [Dworkin:] Compliance and conformity.... normal is seriously overrated."

"I have been asked, politely and not so politely, why I am myself. This is an accounting any woman will be called on to give if she asserts her will. In the home the question will be couched in a million cruelties, some subtle, some so egregious they rival the injuries of organized war. … It must be admitted that those who want me to account for myself are intrigued in hostile, voyeuristic ways, and their projections of me are not the usual run-of-the-mill rudeness or arrogance to which writers, especially women writers, become accustomed. The work would be enough, even for the unfortunate sad sacks mentioned above. So here's the deal as I see it: I am ambitious—God knows, not for money; in most respects but not all I am honorable; and I wear overalls: kill the bitch. But the bitch is not yet ready to die. Brava, she says, alone in a small room."

"Michael Moorcock: Several reviewers accused you of saying that all intercourse was rape. I haven't found a hint of that anywhere in the book. Is that what you are saying? Dworkin: No, I wasn't saying that and I didn't say that, then or ever.… My point was that as long as the law allows statutory exemption for a husband from rape charges, no married woman has legal protection from rape. I also argued, based on a reading of our laws, that marriage mandated intercourse—it was compulsory, part of the marriage contract. Under the circumstances, I said, it was impossible to view sexual intercourse in marriage as the free act of a free woman."

"I am just thinking of Andrea Dworkin. I have really known Andrea since she was very young. I have known her since she was about eighteen years old. I used to love her very much. She was very dear to me. I mean when she writes about sexual life, it's horrible. And she did have some horrible experiences, you know, but I am not writing about her. That's all I can say. For me I really want to celebrate sexuality. (“Because that's the way you feel about it?”) And because I want to celebrate it. Because I think it's one of the greatest things invented [laughs], and it may be a pure invention that it is so great. I could be wrong, and Andrea could be right. But I think it should be. One of the things that bothers me with a lot of my sisters in movements that I have worked with is that their anger with men really has turned them not against men, which is all right as far as I am concerned, but against sex in general, so that even their lesbian experiences don't strike me as so hot as far as that's concerned."